Cityscape/Nightscapes

Admire New York through the lens of @jinifoto | Featuring FE 20-70mm F4 G

Calvin — Mon, 26 Feb 2024 08:58:29 +0000

Admire New York through the lens of @jinifoto | Featuring FE 20-70mm F4 G

Calvin Mon, 02/26/2024 - 14:28

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Tips

Body Category

Alpha 7 IV

Lens Category

FE 20-70mm F4 G

Lens highlights | FE 20-70mm F4 G

Why Sung-Jin chose FE 20-70mm F4 G

Travel Q&A with Sung-Jin

Known as @jinifoto on Instagram, South Korean photographer Park Sung-Jin travels the world to capture the wonders each country brings.

Sung-Jin explores the architecture and cityscape of New York with his trusty and versatile FE 20-70mm F4 G and Alpha 7 IV. He takes us on a journey through New York and its Autumn hues, from dazzling nightscapes to sprawling architecture and towering skyscrapers.

Alpha 7 IV | FE 20-70mm F4 G | 70 mm | 1/320 sec | F10 | ISO 100

Lens highlights | FE 20-70mm F4 G

Compact and lightweight with fast AF, the FE 20-70mm F4 G redefines the standard zoom with an even wider focal length range, becoming a choice lens for versatile creators who are always on the go.

Focal length: 20-70mm
Min. focus distance: 0.30m (W), 0.25m (T)
Max. magnification ratio (X): 0.39
Weight: 488g

Alpha 7 IV | FE 20-70mm F4 G | 34 mm | 1/125 sec | F8 | ISO 100

I chose this lens for its lightweight and compact size as it’s convenient for travel.”

Why Sung-Jin chose FE 20-70mm F4 G

Sung-Jin wanted to capture the beauty and colours of New York in autumn and needed a versatile lens that could capture everything from street shots to scenery. As he planned to do a fair bit of walking, a light and compact lens was important to him which is why he chose the FE 20-70mm F4 G.

Alpha 7 IV | FE 20-70mm F4 G | 20 mm | 1/50 sec | F4.5 | ISO 1600

Travel Q&A with Sung-Jin

How did your equipment help you capture beautiful moments?

A wide-angle lens is ideal for capturing fleeting moments. You get to capture a scene and appreciate more of it in a wider frame. At its widest the FE 20-70mm F4 G lens is great for shooting tall buildings.

Alpha 7 IV | FE 20-70mm F4 G | 70 mm | 1/2000 sec | F9 | ISO 200

Where would you recommend fellow photographers to go in New York?

If you're visiting for the first time, I recommend strolling vertically through Manhattan. You can start from Lower Manhattan and walk all the way to Greenwich Village. You can also walk from Times Square to Central Park. I recommend early morning hours when there are fewer people.

Alpha 7 IV | FE 20-70mm F4 G | 20 mm | 1/200 sec | F8 | ISO 100

What were your most memorable moments in New York?

On the last day of my trip at Central Park, the autumn colours of the maple leaves were beautifully coloured. The sunset made it even better.

Alpha 7 IV | FE 20-70mm F4 G | 34 mm | 1/25 sec | F4 | ISO 1000

Photos are about documenting. Each photo takes me back and allows me to feel the joy of that moment.”

Get inspired

To other photographers planning a trip to New York, Sung-Jin recommends visiting one of its many observation decks for breathtaking views and photo opportunities.

See through the lens of more photographers.

Japan in winter through the lens of @bongtographer_ | Featuring FE 20-70mm F4 G

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Cityscape/Nightscapes

Street Photography

Travel

FE 16-35mm F4 | Best for selfies | Review by Choi Jihye

Harriman — Thu, 18 May 2023 10:49:03 +0000

FE 16-35mm F4 | Best for selfies | Review by Choi Jihye

Harriman Thu, 05/18/2023 - 16:19

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Reviews

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Alpha 7 IV

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Vario-Tessar T* FE 16-35mm F4 ZA OSS

Alpha 7 IV | FE PZ 16-35mm F4 G | 24mm | F4.0 | 1/250s | ISO 200

Alpha 7 IV | FE PZ 16-35mm F4 G | 16mm | F8 | 1/100s | ISO 160

Alpha 7 IV | FE PZ 16-35mm F4 G | 16mm | F4.0 | 1/2s | ISO 1000

Alpha 7 IV | FE PZ 16-35mm F4 G | 26mm | F4.0 | 1/400s | ISO 100

Memories of your travels, captured for a lifetime

Since a young age, I've always loved beautiful landscapes. This includes the seasonal flowers, buildings and architecture that showcase a country's culture. That's why on my travels, I find happiness in taking photos of these landscapes. After some time, I started to capture myself in these landscapes, and now I shoot people (and myself) harmoniously with the environments they are in.

My favourite camera is the Alpha 7 IV, and my lens of choice is the outstanding FE PZ 16-35mm F4 G zoom lens. Today, I'll take you along on my journey to Singapore and give you a behind-the-scenes look at how I captured my “Singapore Project”.

The Singapore Project: Showcasing the city to the world

Alpha 7 IV | FE PZ 16-35mm F4 G | 17mm | F4 | 1/2s | ISO 2000

This series was shot in collaboration with the Singapore Tourism Board. My goal was to capture the beauty of the country and give international audiences a reason to visit this wonderful location. On this journey, I snapped a collection of photos – often using myself as the subject – featuring the country's many picturesque gardens, parks and cityscapes.

Accompanying me on this trip were my Alpha 7 IV camera and FE PZ 16-35mm F4 G zoom lens. As I had planned to take many selfies and landscape shots, I also went prepared with my tripod for vertical shots. Even with the plate mounted on, I could take full advantage of the camera's swivel LCD, which proved to be very convenient.

This lightweight package was important as it allowed me to pack my outfits and props too. Weighing only 353g, the FE PZ 16-35mm F4 G is both lightweight and compact – which meant I never strained my wrists, even after full days of shoots. And the high resolution of this zoom lens was essential for capturing every detail of this city's amazing landscapes.

The iconic Changi International Airport

Alpha 7 IV | FE PZ 16-35mm F4 G | 16mm | F8 | 1/100s | ISO 160

This photo was taken at the Changi International Airport in Singapore. My vision was to capture a person surrounded by a forest, so I went to the second floor for a better angle. To take an unobscured shot, I leaned on a railing and stretched my arms as far (and low) as possible, so I could capture the leaves within the frame. And to capture the flowing waterfall in all its beauty, I set the shutter speed to 1/100 seconds.

The manoeuvrability of the Alpha 7 IV and FE PZ 16-35mm F4 G proved to be valuable in this show – as they made it easy to hold the camera and shoot with one hand.

Singapore, when the sun goes down

Alpha 7 IV | FE PZ 16-35mm F4 G | 30mm | F4 | 1/2s | ISO 2000

There are many inspiring night views across Singapore, and this is one of my favourites. While the maximum open aperture value of the FE PZ 16-35mm F4 G is F4, the synergy between the Alpha 7 IV and this zoom lens provides outstanding results at night – without any clipped areas often seen in high-sensitivity shooting.

Another plus is how the FE PZ 16-35mm F4 G delivers clear, high-resolution images, without any deterioration in on the periphery of the image.

Alpha 7 IV | FE PZ 16-35mm F4 G | 30mm | F4 | 1/2s | ISO 1000

Here's another night shot that I really like from this series, and a tip for improving your nighttime selfies: To capture a subject along with the nightscape, there should be suitable lighting near your subject. In this photo, I was able to balance the exposure by placing wire lights in the shot.

For best results, illuminate your subjects with lighting that's similar in intensity to the environmental lighting. (Your results won't look as good if your lights are too bright.)

A lesson in contrasts and clothing

Alpha 7 IV | FE PZ 16-35mm F4 G | 22mm | F4 | 1/1600s | ISO 160

This is a photo of the Raffles Hotel in Singapore, which has a white building with a distinctive orange roof. For this shot, I prepared a red outfit to stand out against the building's white façade. In situations like this, solid colours are more effective than patterned clothes, as they emphasise the subject more.

As a bonus, the chiffon fabric was easily blown by the wind, giving the photo a more dramatic look. On days with no wind, you can always fly the skirt with your hands!

A gorgeous waterfall, lighting and architecture

Alpha 7 IV | FE PZ 16-35mm F4 G | 26mm | F4 | 1/400s | ISO 100

Although this photo was taken in an airport, I didn't want it to appear as so. And because the large waterfall, surrounding trees, and light coming from the patterned ceiling gave off mysterious vibes, I wanted to project this “bright yet mysterious” atmosphere onto the subject.

So, I tied up my hair in a ponytail to show off the backless dress, while putting my arms down. I wanted this shot to look like a scene from the movie “Avatar”. As the camera was quite close to the waterfall, it was hit with some splashes of water – but thanks to the Alpha 7 IV's dust- and water-resistance, I could continue shooting without concerns.

Good things come to those who wait

Alpha 7 IV | FE PZ 16-35mm F4 G | 17mm | F5.6 | 1/50s | ISO 200

Alpha 7 IV | FE PZ 16-35mm F4 G | 17mm | F5.6 | 1/100s | ISO 200

This picture was very challenging to take, due to the large crowds in this space. So, I set up my tripod and shooting composition in advance, then waited… and waited. After an hour, I began to wonder, “Should I just give up now?” But I persevered until I got the shot – and because of the effort put into this photo, it now holds a special place in my heart and is one of my favourite photos.

Tips for photographers interested in travel selfies

Alpha 7 IV | FE PZ 16-35mm F4 G | 24mm | F4 | 1/250s | ISO 200

Alpha 7 IV | FE PZ 16-35mm F4 G | 20mm | F4 | 1/500s | ISO 100

When it comes to travel selfies, know that if you want a good travel photo, you must choose a good scene. These two go hand-in-hand, and memorable shots often involve lots of advance preparation and effort.

Rather than simply pressing the shutter button, ask yourself questions like,

“What do I want to express through this photo?”

“What feeling do I want to convey to someone who's viewing this photo?”

Also, when looking at photos that others have taken, think about why the photographer chose this composition and why they snapped the photo at that particular time of day. These questions can lead you to interesting observations.

Of course, your equipment is very important too. I recommend choosing a lightweight and compact camera and lens combination. Personally, I feel that the FE PZ 16-35mm F4 G provides outstanding high-resolution images and zoom performance for brilliant travel, landscape and selfie shots.

Where's my next adventure going to be? There are still many countries I haven't visited, and many landscapes I'd love to explore – so I'm going to keep seeking out new, beautiful landscapes and travel destinations!

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Travel

FE 24mm F2.8 G | Ideal travel partner | Review by Carlinn Meyer

Harriman — Thu, 18 May 2023 09:23:49 +0000

FE 24mm F2.8 G | Ideal travel partner | Review by Carlinn Meyer

Harriman Thu, 05/18/2023 - 14:53

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Reviews

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Alpha 7C

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FE 24mm F2.8 G

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/2500s | ISO 160

Alpha 7C | FE 24mm F2.8 G | 24mm | F3.5 | 1/1250s | ISO 160

Alpha 7C | FE 24mm F2.8 G | 24mm | F5 | 1/320s | ISO 100

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/500s | ISO 160

The essence of travel photography

People often ask me, “What's the secret to snapping memorable travel photos?”

Personally, I always focus on capturing the essence of the place I'm visiting. However far – or near – you are from home, there are always special moments, colours and landscapes that will surprise you. As a photographer, you'll want to portray that sense of wonder and surprise to your audiences, so they'll feel like they're travelling on the trip with you.

That's why I love travelling with my Sony Alpha 7C compact full-frame camera and FE 24mm F2.8 G prime lens. This compact pairing is light enough to carry anywhere, making it that much easier to capture spontaneous moments.

Why a prime lens is perfect for travels

When I'm travelling, I'm usually on my feet for most of the day. I enjoy exploring cities on foot to really get a feel of my surroundings, and a prime lens like the FE 24mm F2.8 G is so lightweight, I almost forget I'm carrying it.

Being a 24mm lens, it also does everything I need for my overseas shots. It's great for capturing gorgeous, wide landscapes – while also performing brilliantly for close-ups with its clarity, as well as its deliciously smooth bokeh that dissolves into the background.

Precise, quiet focus
You'll see lots of fascinating subjects on your travels, but not all will be willing to strike a pose – especially those of the feathered variety! This is where the FE 24mm F2.8 G excels – when you're taking covert shots of birds, insects and animals.

Alpha 7C | FE 24mm F2.8 G | 24mm | F4 | 1/640s | ISO 125

The lens features an incredibly quiet autofocus that won't scare your subject off, even at close distances. And its sharp and fast focus makes it easy to take great shots of your subjects – even if they're on the move!

Smooth, natural bokeh
When I'm photographing food and people, I love getting up close and personal. With that said, context is important - and having the background touched by smooth and natural bokeh, gives context to the shot, while making your subject stand out.

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/800s | ISO 250

Alpha 7C | FE 24mm F2.8 G | 24mm | F4 | 1/640s | ISO 125

For portraits and selfies, I create this effect by using a wide-open aperture like a F2.8. The FE 24mm F2.8 G prime lens excels with animal portraits too, as seen in this shot with a squirrel. In this shot, I got very close to the subject to capture sharp details on my focus point – without losing the story that the photograph is sharing with audiences.

24mm lens quality
As shown so far, this 24mm prime lens lets me get really close to subjects. But that's not its only trick – it's also amazing for capturing wide shots, without losing any texture or sharpness. On your travels, you'll definitely come across situations where you'll need to get wider shots without a lot of space – and the FE 24mm F2.8 G is perfect for these situations.

Alpha 7C | FE 24mm F2.8 G | 24mm | F6.3 | 1/1250s | ISO 160

You'll really appreciate how the quality of photos taken using this lens, stays consistent in multiple situations and environments – for example, when shooting buildings in bright sunlight.

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/800s | ISO 100

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/250s | ISO 160

Alpha 7C | FE 24mm F2.8 G | 24mm | F6.3 | 1/1250s | ISO 160

One camera. One lens. Perfect for every trip.

I absolutely love the combination of the Sony Alpha 7C and FE 24mm F2.8 G prime lens. Their lightweight builds make them easy to carry on your travels, and their compactness makes it instinctive to take out and shoot with one hand – so vlogging and selfies are that much easier and more natural.

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NP-FZ100 Z-series Rechargeable Battery Pack

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FE 14mm F1.8 GM | Capture intriguing timelapse shots | Review by Phong Yap Hui

Harriman — Wed, 17 May 2023 06:51:04 +0000

FE 14mm F1.8 GM | Capture intriguing timelapse shots | Review by Phong Yap Hui

Harriman Wed, 05/17/2023 - 12:21

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Reviews

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Alpha 1

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FE 14mm F1.8 GM

The magic of time-lapse photography

Time-lapse photography is a fascinating aspect of photography that compresses long periods of time into minutes and seconds – allowing viewers to see how a landscape or environment can change as the earth revolves and nature unveils its wonders throughout the day or night.

The principles of shooting time-lapses are simple, yet highly intriguing. The fundamental principle is being familiar with the duration of the phenomenon you plan on capturing. For instance, when shooting sunrise or sunsets, you would learn that the process of the sun rising or setting, lasts around one hour. This understanding will allow you to better plan your shots, settings, camera battery management, and more.

My personal favourite camera and lens combination is the Alpha 1 and FE 14mm F1.8 GM prime lens, which are perfect for truly captivating time-lapse shots.

Sunset in Changbin

Alpha 1 | FE 14mm F1.8 GM | F16 | 1/2s | ISO 100

Alpha 1 | FE 14mm F1.8 GM | F8 | 1/3s | ISO 100

When shooting the sunset in Changbin, I estimated that the shot would take around 45 minutes – starting 15 minutes before sunset and lasting until 30 minutes after.

This is where calculations are helpful. 45 minutes is equivalent to 2,700 seconds, which allows me to take around 900 time-lapse photos at a rate of one shot every three seconds. Remember that extending the exposure time can reduce light sensitivity in exchange for better photo quality. In the Alpha 1 camera settings, you can find an ISO AUTO setting with a minimum speed of two. The ISO AUTO range value can be set to your personal preference. Personally, I recommend a setting of between 100 to 3,200.

Before sunset, you can reduce the aperture to F16 in exchange for more depth of field. As the sun sets, the light will gradually weaken, and the exposure time will gradually increase to two seconds. When this happens, increase the ISO to 100 – 3200 to maintain the quality of your photos.

When then ISO exceeds 200/400, adjust your aperture from F16 to F11 and the ISO will be reduced by half. Keep doing so until your aperture goes down to F2.8.

The beautiful blue tears phenomenon

Alpha 1| FE 14mm F1.8 GM | F1.8 | 15s | ISO 2000

Blue tears is a phenomenon that happens as a result of bioluminescence, and is ideally captured in extremely low light – preferably during a high tide, when the waves hit the reef and the glow of the algae is accentuated. This phenomenon usually lasts around three hours.

To create a time-lapse video with a high frame rate, shorten the exposure time so you can capture enough photos during this limited timeframe. Note that shortening your exposure time will cause your photos to be underexposed, so choosing a high-quality, large aperture lens (like the FE 14mm F1.8 GM prime lens) Is essential.

These shots are scenes of the blue tears at Dongju Island, Matsu. This seasonal occurrence typically happens from April to June each year. I chose to shoot when there was no moonlight, and when the Milky Way was visible. In addition to these considerations, you’ll also need to consider the wind direction (southern wind is best), temperature (18 to 22℃ is recommended) and weather (clear and fog-free).

Because the shooting environment will be almost completely dark, I recommend using Manual (M) mode with settings at F1.8, 15s and ISO 2000. If there is a fair amount of light pollution, you can lower your ISO to avoid overexposing your shots.

Quick guide: Timeframes and intervals of popular shots

Alpha 1| FE 14mm F1.8 GM | F1.8 | 15s | ISO 2000

To help you get started on your time-lapse shots, I’ve listed the timeframes and recommended interval times of popular scenes.

Timeframes of popular scenes:

Dawn and dusk: 1 hour
Star trails and galaxies: 2 to 4 hours
Hanging sun: 20 minutes
Rainbows: 15 minutes

When programming interval times, you can use this formula:

Longest exposure time of the scene + 1 second = Interval seconds

For example, the longest exposure time for dawn and dusk is 2s + 1s = 3s, and the longest exposure time in the starry sky and the Milky Way is 15s + 1s = 16s.

Additionally, scenes that lasts a shorter time (like rainbows), can be shot using an exposure time no longer than 0.5 seconds, with the interval time being 1 second. This way, you can take 900 pictures within the 15 minutes that the rainbow is visible.

For scenes like a "hanging sun", the long focal length and slow shutter speed can lead to shifts in focus that result in blurry images. I’d recommend setting your shutter speed to no lower than 1/30s or 1/15 seconds, with your interval time being 1 or 2 seconds (depending on the focal length and the stability of your tripod). If your shoot requires a long focal length that must remain stable from day to night, long exposure remains a priority – but first, ensure that your tripod is very stable and prepared for horizontal stabilisation.

My thoughts on the FE 14mm F1.8 GM prime lens

To be honest, I had waited for a lens like the FE 14mm F1.8 GM prime lens for over three years! I usually shoot outdoors, which makes a lightweight lens is a priority for me. I also often prefer shooting in 8K, and the incredible 8K image quality of the FE 14mm F1.8 GM always gives me confidence that the shots will turn out excellent.

What’s more, the small lens diameter is ideal for use in mountainous areas. Under the low temperature and high humidity of these environments, the small surface area minimises contact with cold air, which is a common cause of mirror fogging – and something I’m happy to no longer worry over.

The FE 14mm F1.8 GM can also be equipped with a 100mm filter system. This lets me easily balance image contrast in advance, and extend exposure times to capture higher quality images.

When paired with the Alpha 1, which has a very strong latitude and saves 16Bit RAW files, this is an ideal combination for time-lapse photography at all times of the day – both mornings and evenings. With the 16Bit RAW files, details in dark areas can also be restored in post-editing, which greatly enhances the quality of the final time-lapse shots.

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The Architect Turned Photographer

sneha — Wed, 21 Sep 2022 12:39:01 +0000

The Architect Turned Photographer

sneha Wed, 09/21/2022 - 18:09

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Featured

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Alpha 7R IV

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FE 12-24mm F2.8 GM

Seasoned architect Kris Provoost, with his Master’s Degree in Architecture and his breadth of expertise in the field, acknowledges that his years of experience have provided a springboard for him to pursue architecture, interior and infrastructure photography. Thanks to this head start, all he had to do was to learn the rules of photography. Then, he knew that fusing these two interests together was going be smooth.

Alpha 7R IV | FE 12-24mm F2.8 GM | 24mm | 1/160 sec | F2.8 | ISO 100

Building The Shot

As a trained architect, Kris was taught that the design of a building tells a story. When he eventually became a photographer, this idea of a story became the foundation of his approach to shooting buildings.

"With the equipment available to photographers today, there's no limit to what is possible. The right lens depends on the story I wish to tell. For cityscapes, a telephoto lens is indispensable as it helps capture a part of the scenery while letting you focus on the subject. In dense cities like Hong Kong, it singles out the subject and keeps the background mellow."

Alpha 7R IV | FE 12-24mm F2.8 GM | 24mm | 1/800 sec | F2.8 | ISO 100

Kris often researches and plans his shoots in advance, and tests out different shooting angles for the building before returning to the location at/during golden hour. Despite the thorough preparation, Kris emphasises the importance of having dependable equipment. "Lighting is everything in architecture photography. Light gives contrast and depth to buildings and is part of the storytelling. You can't control the sun or the weather, which can be frustrating, but it is also an opportunity to shoot something out of the ordinary. That's why having key equipment that is completely trustworthy is necessary, as I know I can rely on them from simple shots to switching lenses instantly according to my needs," added Kris.

The Alpha 7R IV has been a tremendous help in Kris’ photography journey. Among the multitude of features that allows him the creative freedom to add his personal style to his shots, its high pixel count is one of his favourites. Its 61-megapixel image quality enables him to produce larger photos while having the flexibility to crop an image as appropriate to tell a different side of a story. "A cropped photo still turns out breath-taking even when printed on a large scale, and that's why I'm a fan.It ultimately means being able to reuse your photos with just a simple creative twist!"

Alpha 7R IV | FE 70-200mm F2.8 GM OSS II | 200mm | 1/60 sec | F2.8 | ISO 640

Lighting Sets the Mood

That being said, Kris is careful not to over plan. "There needs to be an element of surprise that sets the photo apart from the rest. That sudden spark from the sun, or the sudden reflection, or a moving object with perfect alignment can all make your photos stand out."

Taking advantage of the different lighting provided by different sunlight, like warmer or cooler colours, can affect the mood of a building photograph. Lighting plays an active role, and it is essential for cityscape photographers to learn how to play around with it. According to Kris, different types of light can result in a totally different mood. While he often avoids midday lights, he enjoys taking full opportunity of the early morning light, late afternoon to golden, as well as the blue hour.

Alpha 7R IV | FE 14mm F1.8 GM | 14mm | 1/80 sec | F1.8 | ISO 400

Having studied natural lighting for quite some time, he has established that the early morning light brings a level of excitement to the photo, where it visibly translates that it is a new day. The softer afternoon light, on the other hand, adds in a relaxed atmosphere since the hustle and bustle of work is finally over. A couple of hours later, is the much-awaited golden hour. For Kris, the contrasting light, alongside the colour gradient in the changing sky, is what makes the magic happen.“After a whole day of shooting, this hour is where I'm totally in-tune with my photography and the movement of light. This has resulted in my best work yet," said a proud Kris.

Alpha 7R IV | FE 12-24mm F2.8 GM | 22mm | 1/400 sec | F2.8 | ISO 100

Architecture photos, except those captured under the blue hour, tend to have a warmer colour temperature because of the sun. Due to this, Kris maintains that it is crucial for photographers to first decide which mood they want to imbue in their photos. While post-process gives slight control over the hues, he personally prefers to do less digital editing to create more real representations of the structures.“There's no single colour temperature that is considered correct, and it is up to the photographer to control each frame—from reflections, building surfaces, and even building material to achieve the desired effect."

As an architecture photographer, Kris relies heavily on a tripod. Its stability allows him to hit lower ISOs and get photos with less noise, while the slower shutter speed grants him flexibility to capture visual movement. Kris has found that a slower shutter speed provides absolute sharpness when it comes to the buildings and shooting at a higher f-stop ensures the whole photo, edge to edge, is thoroughly crisp.

Alpha 7R IV | FE 70-200mm F2.8 GM OSS II | 70mm | 1/60 sec | F2.8 | ISO 400

Highlight your perspective

For photography freshies, Kris' advice is to focus on your story. "Sometimes, shifting your horizon or balance slightly is enough to avoid making your photos look like the other million images of skylines online. Learn how to use foreground and background objects to guide the viewer's focus back to your story. I always go back to buildings I've done to see if I can put a new perspective on things," quipped Kris.

Alpha 7R IV | FE 12-24mm F2.8 GM | 23mm | 1/500 sec | F2.8 | ISO 100

Some photographers can be so eager to tell their story, that their photo can become cluttered with too many things. For him, a singular story requires restraint, and calls for the photographer to think things through and portray the essence of their subjects. Picking the right theme and sticking to it means that elements that don't echothe same message have to be cut. For Kris, having the discipline to focus on the story he wants to tell means the resulting work is more purposeful and impactful.

"You can never be fully prepared or fully anticipate what can happen. Don't be afraid to experiment, and it's ok to limit yourself to 1 lens, as limitations force you to think on your feet and might even help you step into a new perspective. The spontaneity in shooting buildings is what drives me," concluded Kris.

Alpha 7R IV | FE 70-200mm F2.8 GM OSS II | 178mm | 1/60 sec | F2.8 | ISO 400

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FE 70-200mm F2.8 GM OSS II

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Architecture

Cityscape/Nightscapes

Turning the City into a Photographer’s Playground

Aysu — Fri, 11 Feb 2022 13:10:14 +0000

Turning the City into a Photographer’s Playground

Aysu Fri, 02/11/2022 - 18:40

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I have been extremely lucky growing up and learning photography on the streets of Paris. Big cities are fantastic places for street photography as there is so much going on and so many different types of buildings and locations. This gives you the opportunity to try different things and really learn your craft quickly.

For the latest few years I have been shooting not just in Paris, but cities around the world, at first with the Sony Alpha 6000, and now with the Alpha 7R III.

The City is a Playground

Cities are like a maze. I see every day as an opportunity, a new challenge of trying to find locations and capture scenes that haven’t been shot before. So, my first piece of advice is to simply enjoy the city and walking around it. Go and explore your town or city and look at it with a fresh pair of eyes.

When I think I have found a scene to photograph, I like to stop and take a second or two to observe what is going on before taking an image. I am looking for something magical; it may be a special light, or just something that really captures the mood and the atmosphere of the city at that particular time. The key, though, is stopping to look before shooting.

Don’t Shoot the Obvious

The most important thing for me is to try and reproduce the atmosphere, the energy, the DNA of a city. It is easy to shoot a picture-postcard image of a city like New York. You may get a good picture as a result, but we will have all seen such an image 1,000 times before. Instead, look for interesting compositions or colours to try and make your pictures original - add something of you own to each image.

One exercise to train yourself to explore a scene and find something different, is to take the obvious shot then simply move around the scene. Try shooting lower, higher, or look in the opposite direction. Try to find another image to take. Over time you will start to naturally look and find different compositions aside from the regular tourist images.

Timing Is Everything

Like any other genre of photography, light is incredibly important. I take a lot of images at sunrise and sunset. I really like to wake up early in the morning at, say, 5am or 6am to take the first light in the street. I enjoy shooting at this time, as the light is magical and there is almost nobody in the street.

One of the ways I like to introduce some atmosphere and magic is by shooting directly in to the sun. I like to play with the light and how it creates reflections, flare and star burst. Some people don’t like the effect and try to avoid it, but for me it really creates energy.

To find the best light, I will use apps that can track where the sun will be in the sky at different times of the day and then I will aim to be at the right space at the right time for the light. I still don’t know the exact image that I will take, but I will know that the light will be hitting a building or street at a certain angle and then the job for me is just to make the most of the affect it is creating.

Spend Quality Time on the Edit

I will spend almost the same amount of time editing as I will have spent out shooting - a full day of shooting will produce enough images for a full days’ worth of editing.

When editing, I concentrate on the contrast level to bring out the strong black and white tones and then turn my focus on the colour and the shape. I really like having orange hues in my images, so I will play with the images to bring this to the fore, but the key is identifying the colours you want to elevate and working to get the contrasts to a happy balance.

Give Yourself a Project

One thing I like to do is to set myself a project to try and create a series of images that work well together. I recently went to Singapore and set myself an architectural project. I changed my way of working, and used the FE 12-24mm f/4 G lens on my Alpha 7R III to shoot black and white abstract minimalist images. I looked for very minimalist compositions with lots of linear elements.

Having a project to work on helps to give you focus and a motive to push yourself and try something new, and become a better photographer.

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FE 70-200mm F2.8 GM OSS

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FE 12-24mm F4 G

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This article was originally published on sony.co.uk/alphauniverse

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Cityscape/Nightscapes

Street Photography

Learn the trade: Aisha Nazar shares her secrets to mastering Night Photography

Aysu — Wed, 29 Dec 2021 13:22:52 +0000

Learn the trade: Aisha Nazar shares her secrets to mastering Night Photography

Aysu Wed, 12/29/2021 - 18:52

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Unbeknownst to most, Aisha Nazar’s success as a professional photographer was born out of a whim.

“I stumbled upon a mirrorless camera and without giving it any thought, I purchased it,” she shared.
“I immediately regretted my decision and after many failed attempts of selling the camera, I finally decided to give it a go and found ways to improve my photography skills.”

Alpha 7 III | FE 55mm F1.8 ZA | 82mm*| 1/250 sec | f/1.8 | ISO 1600

Her impulse was proven propitious. Just last year, the Kuala Lumpur native bested hundreds of applicants in Sony’s ThroughTheLens competition. Her win granted an all-access pass to Sony’s covert technology lab, alongside a one-year apprenticeship with the tech giant.

Through Her Eyes

With this experience, Aisha divulged that she is definitely on the way to realising her dream as a travel and documentary photographer, a considerable leap from her past work life as a corporate underling.

Her photography style? Visuals that are able to tell a story. She strongly advocates putting depth into captured moments, as opposed to simply getting nice shots that remain as what they are — nice.

“Just knowing a little about something you’re photographing changes your perception of how you view things,” she advised earnestly. “This way, it will ignite your thought process to give you something to write about.”

Alpha 7 III | FE 55mm F1.8 ZA | 82mm*| 1/125 sec | f/1.8 | ISO 1600

Having picked her brain on the storytelling element of photography, Aisha moves on to exploring the technicality and creative process of night shoots with Sony’s Full Frame camera.

One unique aspect she gushed about is the manipulation of light in night shots. From psychedelic light trails to hauntingly beautiful street portraits, a mix of imagery can be achieved by locating the right light sources and toggling the settings on the camera.

“There is no right or wrong way of shooting in the dark,” she offered in conclusion.

Read on to find out how Aisha masters the art of night photography.

Aisha’s go-to photography gear

Why use Sony’s Full Frame camera for night shots?

Sony’s Full Frame camera is perfect for night shots because of its full-size sensor which lets more light in as compared to a cropped sensor. It also possesses a high ISO to retain high details and produce low noise images.

Alpha 7 III | FE 55mm F1.8 ZA | 55mm | 1/200 sec | f/1.8 | ISO 160

What are your commonly used night photography settings?

For night photography, especially for street, my cameras’ typical settings are:

Manual mode
F-stop: Shoot wide open with an aperture value of f2.8 or lower where possible
ISO: Shoot between an ISO 800 – 1600, depending on the lighting situation and what I would like my final image to look like. I’m never worried about getting a terribly noisy image with Sony’s Alpha 7 III. It holds up tremendously well in low light situations.
Shutter Speed: 1/80 – 1/160 sec
Shoot in RAW to get the most out of the details in post-production.

Tackling street photography

What is your experience with focusing during night shots? For street photography, how crucial is autofocus to capture that perfect moment?

Even in low light, Real-time Eye AF tracks almost immediately and locks on to my subject. Fast AF is definitely important in shooting street scenes because once a moment is missed, there's no going back. You need a fast lens for this so that it doesn't take too long to hunt and lock focus on the subject. A camera with a good sensor, like the Sony Full Frames, does so well in that aspect because of its superior low light performance and that in turn, allows better tracking.

Alpha 7 III | FE 55mm F1.8 ZA | 55mm | 1/125 sec | f/1.8 | ISO 1250

Share some of your tips for street photography at night.

Keeping a low profile is a must! The best way to go unnoticed is to not look out of place when photographing. Dress more casually so you blend in with the crowd. Consider using a considerably less bulky lens, like Sony’s 35mm or 55mm F1.8. You will be able to perform lightning-fast autofocus and capture dynamic street shots with high corner-to-corner resolution from a wide aperture, along with a smooth bokeh.
I also highly recommend shooting on silent mode - it doesn’t draw attention when the shutter goes off and allows you to capture genuine emotions. Limit the use of your Sony camera’s Electronic Viewfinder (EVF) and shoot waist or chest height so people don’t get conscious about themselves being photographed.

For shooting street portraits in the dark, make use of the available light around you. For instance, you can use the headlights of a passing car as a backlight for your subject. This creates an illuminating effect that outlines their figure or, you can even find light panels on the exteriors of most shops or restaurants as a light source for your subject.

Alpha 7 III | FE 55mm F1.8 ZA | 55mm | 1/125 sec | f/1.8 | ISO 500

How does one tackle the high image noise in photos taken at night?

Testing out your camera’s ability in holding up with high ISO is important. This way, you will know the limitations of your camera and you’ll know the best ISO to use for final images that are cleaner and sharper. Another way is to take advantage of a tripod, so that you can use a lower ISO and compensate it with a lower shutter speed.

It is also useful to utilise a wide aperture lens to get the maximum amount of light. Sony’s G Master lens is the perfect solution for this, where photos will remain crystal clear even at the widest aperture. Furthermore, the lens boasts a special coating to reduce flares that usually happen at night.

The right way to flash

How do you maximise a flash for an outdoor night shoot?

A flash such as Sony’s HVL-F60RM can be utilised as a light source to brighten up your subject in night portraits. I usually find on-camera flash to be a bit too flat and harsh on the subject, so you can play around with reflectors to bounce off light from the sides and towards your subject to get a more dramatic effect of highlights and shadows.

Achieving light trails

What makes a great light trail photo?

A great light trail photo is scoring a pin-sharp and smooth trail that suggests something which is out of this world. Personally, I find the smooth transitioning of light trails across the frame against a dark background sophisticated and sexy.

Alpha 7 III | FE 16-35mm F4 ZA OSS | 35mm | 5 sec | f/13 | ISO 50

What is your best advice to achieving a beautiful composition in light trail photos?

First, visualise how you want your final photos to be like. Then plan out your composition and framing, before finding an ideal spot with a tripod. Set your camera to manual mode by using these settings as a general baseline: lowest ISO, aperture of f11 - f18, shutter speed of 10-30 seconds. Play around with these settings until you settle on a combination that satisfies you.

What are some mistakes photographers may make when it comes to light trail photos at night?

Not having the right timing set. To get a light trail, it’s all about setting the right shutter speed to capture the motion of a moving subject with a light source. You will also need to practice before a good shot is nailed.

Perfecting cityscapes

What is your trick to getting a perfect shot of the cityscape at night?

You’ll typically want to find a good, high spot that eliminates obstructions from the view you’re planning to get. It’s all about exploring and also asking other photographers for suggested points.

Alpha 7 III | FE 55mm F1.8 ZA | 55mm | 25 sec | f/18 | ISO 100

Expanding your creativity

Suggest some ways to elevate the creativity in night photography.

One of the best things about taking photos at night is you can get creative with lights, where you bend the reality of how it really looks like to the naked eye. It gets really interesting when you dial down the shutter speed and see the different outcomes. One of which is creating light trails from moving objects, where your camera takes advantage of say, a panning motion to depict the speed of a moving object against a lit background.

Alpha 7 III | FE 55mm F1.8 ZA | 55mm | 1/10 sec | f/4 | ISO 125

Disclaimer:
The opinions expressed in this publication are those of the author. They do not reflect the opinions or views of Sony.

* Equivalent to 82mm in APS-C mode

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Cityscape/Nightscapes

Street Photography

The Night Lights of Singapore

Aysu — Tue, 28 Dec 2021 12:22:07 +0000

The Night Lights of Singapore

Aysu Tue, 12/28/2021 - 17:52

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Alpha 7R III

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Whilst for many of us an open top bus and a multilingual headset may be the best way to explore a new city, for Guillaume Ruchon a camera, a tripod and his two feet was all that he needed.

On his most recent trip to Singapore, he explains that the first thing he did when he arrived was to escape into the city streets with his camera and tripod in hand, “I decided to take my gear and my tripod to walk around the streets by night so I could fully discover the city”.

There was one area that Guillaume was quickly drawn to - the Marina, with its modern facades and bright lights - it was the perfect location to set down the legs of his tripod and start shooting.

“On other trips I would usually visit blogs or use Instagram to hunt out some of the best locations to photograph, but for this trip I wanted to just walk around the streets and observe”, he explains.

“I soon discovered that the architecture of Singapore is amazing!” he continued, “I mainly stayed around the Marina area because I wanted to capture the skyline, the Marina Bay Sands, the Supertree Grove and, of course, play with the reflections of the water.”

Whilst the destination may have been the age-old advice for getting the best images, when it comes to taking really great photos, it always comes down to capturing light.

“Light is absolutely key and a tripod is essential to keep your camera still, so you can capture long exposure” he explains, “there is also a decision to be made when it comes to white balance, as different light sources produce different coloured light.”

For Guillaume, the colours in a scene are another way we can express ourselves, “when it comes to telling a story within a single image we can change the feeling in an image depending on the warm or cool colours that we use when adjusting the white balance.”

Travelling to Singapore along with Guillaume was his trusty Sony Alpha 7R III, FE 16-35mm f/2.8 and 24-105mm f/4 G OSS lenses.

Guillaume says, “the FE 16-35 f/2.8 GM lens is my number one lens for architecture and landscapes. It’s not too wide and there is very low distortion. When zooming in to 35mm you can still shoot at f/2.8 and get excellent results in terms of sharpness and definition.”

Like many other photographers, the key reason for the Sony Alpha 7R III is the incredible 42.2 megapixel resolution. “I can’t live without it” says Guillaume “the detail is awesome for editing and also when cropping.”

With so much detail it can be tempting to set the highlights and shadows to -100 and +100 to show as much as possible, but Guillaume advises those starting out to learn how to use tone curves in your editing software to adjust the brightness and contrast. “It is much more creative than simply adjusting the highlights and shadows, but it also harder to learn how to use successfully”, he says.

The high resolution and dynamic range aren’t the only features of the Alpha 7R III that help when shooting cityscapes at night. “One thing that really helped me when shooting at night in Singapore was the 12.4x magnification”. For Guillaume it helps him to focus accurately in lowlight through the electronic viewfinder. “Using magnification in combination with Focus Peaking helps me to make doubly sure that my images are perfectly sharp and in focus.”

Every city presents a new opportunity for Guillaume to explore and take images at night, but isn’t there a risk of getting bored? “Haha, never!” he says, “the weather and seasons are always changing and lighting often does too. Of course, my pictures also change, as I evolve and change my style. There is always something new to discover!”

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Alpha 7R III

กล้องฟูลเฟรมพร้อมความละเอียดสูง 42MP

FE 16-35mm F2.8 GM

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FE 24-105mm F4 G OSS

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This article was originally published on sony.co.uk/alphauniverse

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Cityscape/Nightscapes

Street Photography